As the Biennale of Sydney unveils its new curatorium, we look at shifting exhibition models in a post-pandemic rethink, as international travel is limited and trust among peers elevated.
The 23rd Biennale of Sydney Curatorium (L-R): Hannah Donnelly, Anna Davis, Jose Roca, Talia Linz and Paschal Daantos Berry. Image supplied.
Curatoriums are not a new idea. Especially within the format of the international biennale, the idea of a sounding board, or brains trust, has long been a useful tool for tapping networks and opening up thinking.
But we are witnessing a further disruption of the curatorial model in the wake of the pandemic and shifting museological trends around agency and diverse voices. It is a next step in flattening the hierarchies steering these big international, big budget, shows.
Gina Fairley is ArtsHub's Senior Contributor, after 12 years in the role as National Visual Arts Editor. She has worked for extended periods in America and Southeast Asia, as gallerist, arts administrator and regional contributing editor for a number of magazines, including Hong Kong based Asian Art News and World Sculpture News. She is an Art Tour leader for the AGNSW Members, and lectures regularly on the state of the arts. She is based in Mittagong, regional NSW.
Instagram: fairleygina
